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I. Critical dilemma: my friend is in the show.“The dance world is a small one and a great one, don’t you think?” a colleague wrote to me last week (in a note sent via snail mail, in a chipper font simulating handwritten cursive) after a networking brunch the weekend before.

All That Jazz (Again) at the New York City Ballet

Well, you can say this for Susan Stroman: she’s consistent. In late January the Broadway director and choreographer unveiled her latest contribution to New York City Ballet’s repertory: another clichéd, sleepy Broadway-ballet fusion. Great.


Snow two feet deep in the garden. Tree branches sporting cartoonish thick curvy white pillows like snow scene in Balanchine Nutcracker.8:59 AM Jan 27th De Keersmaeker at MoMA: thrilling, and a reminder that in a museum context, dance signifies differently. 7:16 PM Jan 23rd

Cori Olinghouse of Ninja

Cori Olinghouse is among a number of artists who appropriate existing underground forms in their contemporary art and performance works.

Voguing Against Tradition

(M)imosa, an unassuming , gender-bending, dancer. Mimosa transforms. S/he is multiple personalities rolled into one: a Latina rockstar, a ballerina, a student studying abroad, a butch queen, and Prince, amongst other things: “I am Mimosa.”

Lost in Space

There is a sector in the microverse of contemporary choreography in which the kids aren’t alright. It’s not that they can’t dance (they can), but rather that they are aggressive and dissociative. Choreographers Juliana F. May and Natalie Green illustrated two aspects of this phenomenon in their recent split bill at Dance Theater Workshop

Baby, Why You Gotta Treat Me So Bad?

What becomes of the brokenhearted? If you’re Kyle Abraham, you channel your heartbreak into some really fierce dancing and invite others to share your pain. Abraham presented Heartbreaks and Homies February 11 and 12 at Joe’s Pub, just in time for Valentine’s Day.

Self, Unending

Xavier Le Roy’s Self Unfinished, which I viewed in a packed audience at the Museum of Modern Art in early February, is among a series of works by Le Roy exploring the limits of what, recalling Baruch Spinoza, a “body can do.” Given Le Roy’s background in biology (he holds a Ph.D. in that field), one cannot help but think about the influence of the “hard sciences” on his choreography.


The Brooklyn Rail

MAR 2011

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